Norwegiancrafts.no

Following World War II, the Nordic countries have been considered to have similar value systems, similar social and political structures and, in some cases, a common Nordic identity. This can be connected with what is often referred to as the Nordic model, a social and political model for a comprehensive welfare system.

In post-war culture the Nordic countries have also been given special attention in connection with art, crafts and design.

Since the 1950s Scandinavian Design has been an expression addressing a special branch of modern design from Norway, Sweden, Denmark and Finland. The expression refers to minimalistic design, functionality, and low-cost mass production, and is said to be founded on social democratic ideals typical for the Nordic countries. The ‘golden age’ for this type of design ended in the 1970s, but Scandinavian Design is still an expression for utopian design made to better the lives of the masses.

At the Venice Biennale there is a Nordic pavilion in the Giardini area hosting Finish, Norwegian and Swedish artists. Since 1962 this pavilion, designed by Norwegian architect Sverre Fehn, has symbolized shared cultural heritage and artistic values within the Nordic countries.

Last year at Yerba Buena Centre for the Arts in San Francisco, an exhibition exploring contemporary Nordic craft took place. The curator of the show identified Nordic contemporary craft as rejecting the modernist movement and emphasizing ‘the role of the maker in the act of crafting and the narrative potential of functional objects’.

The question of Nordic Identity will again be a theme in a conference held at the Saatchi Gallery in London 15 May. In conjunction with COLLECT, an international fair for contemporary objects, the conference ‘Craft and Identity: New Nordic Developments’ will thoroughly explore the value of crafts and their relationship to Nordic Identity.

In this issue of Norwegiancrafts.no we pose the question of how professionals associated with the Norwegian field of craft look upon the idea of a shared identity between Nordic craft artists, and a shared identity within the Norwegian craft milieu. The answers given show an ambiguity toward the whole concept of a shared identity, but still suggest tendencies within Norwegian crafts and design.

Text: André Gali

Published: 4 May 2010